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The 

hoir  Rehearsal 


fl  PLAY  IN  ONE  flCT 


By 
CLARE   KUMMER 


Copyright,  1922,  by  Samuel  French 


Price  Fifty  Cents 


New  York 
SAMUEL  FRENCH 

Publisher 
28-30  West  38th  Street 


London 

SAMUEL  FRENCH,  Ltd. 

26  Southampton  Street 

Strand,  W.C.  2. 


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The 
CHOIR   REHEARSAL 

A  PLAY  IN   ONE  ACT 

BY 

CLARE  KUMMER 


All  Rights  Reserved 


Copyright,  1922,  by  Samuel  French 


New  York 

SAMUEL  FRENCH 

Publisher 

28-30  West  38th  Street 


London 

SAMUEL  FRENCH,  Ltd. 

26  Southampton  Street 

STRAND 


"THE  CHOIR  REHEARSAL"  is  fully  protected  by  copy- 
right and  is  subject  to  royalty  when  produced  by  professionals 
or  amateurs. 

Permission  to  act,  read  publicly,  or  to  make  any  use  of  it 
must  be  obtained  from  SAMUEL  FRENCH,  28-30  West 
38th  Street,  New  York,  and  no  performance  may  take  place 
until  a  written  permission  has  been  obtained. 

Professional  and  amateur  rates  quoted  on  application. 

Whenever  this  play  is  produced  the  following  notice  must 
appear  on  all  programs,  printing  and  advertising  for  the 
play :— Produced  by  special  arrangement  with  SAMUEL 
FRENCH  of  New  York. 


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THE  CHOIR  REHEARSAL 

PROPERTY  PLOT 

Candle  for  Esmeralda  to  bring  on  lighted. 

Two  candlesticks  on  mantle. 

Hymn  book  on  organ. 

Beads  for  Esmeralda. 

The  song,  "A  Wonderful  Thing,"  is  published  by 

Jerome  H.  Remick  &  Co.,  New  York. 
Pitch  pipe. 
Cuckoo  clock  in  wall  l.u. 


Originally  produced  at  the  Palace  Theatre,  New 
York,  Feb.  19,  1917,  with  the  following  cast: 

PERSONS  OF  THE  PLAY 

William,  who  plays  the  organ John  F.  Ryan 

Enoch,  who  sings  tenor Al.  Stewart 

Amos,  who  sings  bass John  Keefe 

Abigail,  a  neighbor May  Ellison 

Alan  Wylie,  the  new  Minister John  Hogan 

Esmeralda,  who  had  to  be  prayed  for — 

Sallie  Fisher 


The 
CHOIR  REHEARSAL 


Scene:  The  living-room  of  Esmeralda's  house  in 
Tuckertown. 

Eight  o'clock  on  a  Spring  evening  long  ago. 
The  room  indicates  that  the  family  is  well-to- 
do,  containing  a  parlor  organ  and  the  marble- 
topped  table  and  horsehair  furniture  of  that 
period. 

Door  with  two  steps  up  stage  r.  Door  into 
entry,  l.2E.  A  windozv  r.,  through  which  the 
moonlight  is  shining.  Except  for  this  there  is 
no  light  in  the  room. 

On  rise,  cuckoo  clock  is  striking  eight.  Outer 
door  is  heard  to  close  and  William's  voice 
offL. 

William.  Anybody  home?  (He  enters,  crosses 
briskly  to  organ  and,  sitting  down,  begins  to  play. 
After  the  first  few  chords,  he  sings  cheerfully) 

"Life  is  the  time  to  serve  the  Lord; 
The  time  to  insure  the  great  reward 
For  while  the  light  holds  out  to  burn, 
The  vilest  sinner  may  return." 


6  THE  CHOIR  REHEARSAL 

(Esmeralda  opens  door  r.u.,  looks  into  the  room. 
She  carries  a  light  and  on  perceiving  William 
comes  down  steps,  closing  door  after  her.) 

Esmeralda.     Why,  William- 


WiLLiAM.  (Stops  playing)  I  thought  that'd 
bring  someone. 

Esmeralda.  It's  after  eight  o'clock  and  father's 
gone  to  bed. 

William.  Well,  I  don't  want  to  see  him — I 
want  to  ask  you  somethin*,  Esmeraldy.  (Risi-ng, 
goes  to  her.) 

Esmeralda.     Don't,  William — it's  no  use. 

William.  Oh,  not  that — I  ain't  goin'  to  ask  you 
that  again — so  soon,  anyhow. 

Esmeralda.  Well,  then,  what  is  it?  (Lights 
candelabra  on  mantel.) 

William.  The  organ  over  to  the  Hoopers'  has 
broke  down,  an'  they  want  to  come  over  here  for 
choir  rehearsal. 

Esmeralda.  Oh — just  the  very  idea  of  it  fills 
me  with  the  most  wicked,  sinful  thoughts. 

William.  An'  hearin*  'em  '11  fill  you  with  more. 
Oh,  it's  awful  since  you  left,  Esmeraldy !  Tabitha 
Hole's  v6ice~geTs'worse  every  Sunday. 

Esmeralda.     Worse !    How  can  it  ? 

William.     Well,  it  does. 

Esmeralda.  Oh,  I  suppose  I'll  have  to  say  5^es. 
It  would  be  too  un-christian  not  to  let  them  practice. 
I  know  they  need  it.  Yes — let  them  come.  I  can 
go  for  a  walk  up  the  street.  I  wanted  to,  anyway. 
There's  such  a  lovely  moon  to-night. 

William.     Is  there?    Maybe  I  can  go  with  you. 

Esmeralda.  You  couldn't — who'd  play  the  or- 
gan? 

William.  Oh,  let  old  Miss  Hooper  play  with 
one  foot  and  sing  with  the  other. 

Esmeralda.     Anyway — I'd  rather  walk  alone. 


THE  CHOIR  REHEARSAL  7 

William.  Just  since  the  Rev'rend  Hiram  Hallo- 
well  went  away. 

Esmeralda.     Yes — just  since  he  went  away. 

William.     Was  you  sweet  on  him,  Esmeraldy? 

Esmeralda.     Perhaps.     Everybody  said  I   was. 

William.  Why,  he  wasn't  hardly  any  better 
lookin'  than  I  am. 

Esmeralda.  No — but  you  didn't  notice  it  with 
him.  How  beautifully  he  could  talk.  Why,  you 
couldn't  understand  him  at  all! 

William.     The  new  one  can  talk  just  as  good. 

Esmeralda.     (Faintly  interested)    Can  he  ? 

William.  An'  his  hair  ain't  red.  My  sister's 
just  crazy  about  him. 

Esmeralda.  (SMy)  Is  she?  How  happy  they 
must  be. 

William.  Yes — she  is.  He  don't  know  about 
it  yet. 

(Tinkle  of  doorbell.) 

Esmeralda.  (Starting  to  door  r.u.J  Let  them 
in,  William 

William.     They  ain't  comin'  till  I  let  'em  know 
if  you're  willin' — must  be  someone  else. 
fEsMERALDA  pauses,   her  hand   on   the  doorknob. 

William  goes  out  into  entry.    Sound  of  door.) 

Alan.  (Voice  o§)  Why,  good  evening,  Wil- 
liam. 

William.  Evening,  Parson.  (Re-enter  Wil- 
liam— to  EsmeraldaJ  It's  Mr.  Wylie,  the  new 
minister.     I'll  go  an'  tell  'em  they  can  come. 

(Exit  William  as  Alan  enters,    Esmeralda  comes 
down.) 

Alan.     I  hope  you  don't  mind  my  calling — it's 


8  THE  CHOIR  REHEARSAL 

such  a  lovely  night  out — I  thought  I'd  just  come  in. 

Esmeralda.     Oh,  Tm  so  sorry 

"  Alan.     Are  you  ? 

Esmeralda.     Did  you  want  to  see  my  father? 

Alan.     Well — I — ^is  your  father  in? 

Esmeralda.  Why,  yes,  he  is.  He's  in  bed.  Did 
you  want  to  see  him  about  anything  important? 

Alan.     Well,  no — well — ^yes — his  soul. 

Esmeralda.  Oh,  well,  maybe  that  could  wait 
till  to-morrow. 

Alan.     Your  father  doesn't  come  to  church 

Esmeralda.  Well,  you  see — he's  been  to  church 
so  much.  He  counted  it  all  up  one  Sunday.  It  was 
over  eight  thousand  times  with  prayer  meeting — 
and  he  just  said,  "If  that  isn't  enough,  it's  no  use." 

Alan.     But  you  don't  come  to  church. 

Esmeralda.     No — I  don't. 

Alan.     It's  very  discouraging !    May  I  sit  down  ? 

Esmeralda.  Please  do.  (With  a  little  curtsey 
Alan  sits  l.  of  table.    Esmeralda  sits  r.  of  table.) 

Alan.  I've  always  wanted  to  come  into  this 
house. 

Esmeralda.    Have  you  ?    Why  ? 

Alan.  Why,  it's  the  oldest  house  in  Tucker- 
town,  isn't  it? 

Esmeralda.  Yes.  It  was  built  by  my  great 
grandfather,  Ephraim  Tucker.  He  settled  Tucker- 
town.  I  wish  he  hadn't.  That's  his  picture  there 
over  the  mantel.     (Turning  to  look  at  picture.) 

Alan.  Is  it?  Why,  he  looks  just  like  my  great 
grandfather. 

Esmeralda.  Does  he?  I  think  all  great  grand- 
fathers look  alike,  don't  you  ?  But  you  were  saying, 
"It's  very  discouraging." 

Alan.  Was  I?  Oh,  yes,  of  course  it  is.  This 
is  such  a  little  parish — everyone  in  it  would  only 
make  a  small  congregation — ^but  they  don't  come  to 


THE   CHOIR  REHEARSAL  9 

church — they  don't  seem  to  care  where  they  go,  after 
this  Hfe.    Don't  you  care? 

Esmeralda.  No — all  I  want  is  just  to  leave 
Tuckertown. 

Alan.  But  after  you  leave  Tuckertown,  you 
want  to  go  to  heaven,  don't  you? 

Esmeralda.  I'd  rather  go  to  Duxbury.  I  want 
to  live  a  little  before  I  go  to  heaven.  (Esmeralda 
rises,  goes  and  sits  on  ottoman  near  Alan.j 

Alan.  Duxbury — that's  where  the  Rev.  Hiram 
Hallowell  went. 

Esmeralda.  Yes — oh,  it's  a  wonderful  place.  I 
have  a  picture  of  the  railroad  station,  and  the  Town 
Hall.  They  hold  the  Country  Fair  there  and  once 
they  gave  a  ball — for  the  man  who  was  nearly  elected 

Governor.      These    beads    came    from    there 

(Holding  out  coral  chain  round  her  neck.) 

Alan.  Did  they?  They're  very  pretty — but  we 
must  forget  the  things  of  this  world — all  is  vanity. 

Esmeralda.  Yes,  that's  what  the  Reverend 
Hiram  Hallowell  used  to  say. 

Alan.     He  was  very  successful  here. 

Esmeralda.     Yes — he  got  away. 

Alan.  I'm  a  failure.  I  knew  it  last  Sunday.  I 
sat  up  all  night  working  on  my  sermon.  I  painted 
the  picture  of  the  afterlife  for  sinners.  I  tried  to 
make  them  see  the  flames  and  the  smoke,  but  in  the 
morning  my  congregation  sat  unmoved. 

Esmeralda.  It's  been  such  a  long,  hard  winter 
— and  these  old  houses  are  so  cold  I  suppose  the 
flames  sounded  sort  of  warm  and  pleasant. 

Alan.  You  used  to  come  to  church,  when  the 
Reverend  Hiram  Hallowell  was  here. 

Esmeralda.     Yes — I  did 

Alan.  I  suppose  you've  heard  how  bad  my  ser- 
mons are. 

Esmeralda,  Yes,  but  that's  not  the  reason  I 
don't  come  to  church. 


10  THE  CHOIR  REHEARSAL 

Alan.     Isn't  it  ? 

Esmeralda.  No — I  wouldn't  care  if  there  wasn't 
any  sermon. 

Alan.     No — I  don't  suppose  anyone  would. 

Esmeralda.     It  was  the  singing  I  loved  so. 

Alan.  (Surprised)  Did  you?  I'll  confess  that 
it  takes  all  my  strength  of  character  to  realize  the 
grace  of  our  Lord  when  Sister  Tabitha  Hole  starts 
the  Doxology. 

Esmeralda.  I  sang  in  her  place — yes — but  I  was 
dismissed — and  reproved  by  the  Elders.  I  did  a 
dreadful  thing — yes,  they  all  had  to  pray  for  me — 
it  was  terrible.  That's  why  I  don't  come  to  church. 
I  had  to  be  prayed  for. 

(Sound  of  door  off.  Esmeralda  exits  hastily  r.u. 
Closes  door  after  her.  Alan  follows  a  few 
steps,  stands  looking  at  door.  Enter  William. 
He  goes  direct  to  organ.) 

William.  Well,  they're  on  the  way — the  folks 
are  coming  over  for  Choir  Rehearsal. 

Alan.  (Disturbed,  hesitating)  Are  they?  Sis- 
ter Esmeralda  has  been  telling  me  she  used  to  sing 
in  the  choir. 

William.  Yes — they  used  to  come  to  church 
just  to  hear  her  sing. 

Alan.  (Comes  down  c.)  Oh,  that  was  why 
they  came.  Well — er — tell  me,  why  isn't  she  sing- 
ing now  ? 

William.  Why,  she  sang  a  song  in  church  one 
Sunday  morning — a  regular  song  with  a  tune  and 
everything — she  was  dismissed — and  reproved  by 
the  Elders  for  doing  it. 

Alan.  Oh,  that's  what  she  did— poor  child— 
that's  why  she  had  to  be  prayed  for.  What  was  the 
song? 


THE  CHOIR  REHEARSAL  ii 

William.     It     went     something     like     this 

(Plays  refrain  of  ''A  Wonderful  Thing.'') 

Alan.     Why,  that  sounds  hke  a  hymn. 

William.  Yes,  it  does — ^but  it's  not  in  the  book. 
Old  Tabitha  Hole  made  all  the  trouble.  She  wanted 
to  sing  in  Esmeraldy's  place.  She  says  you  can 
dance  to  this  tune. 

Alan.     I  wonder  if  you  can (He  takes  a 

few  furtive  steps.) 

William.  You  can  dance  to  any  tune  if  you 
want  to. 

(Esmeralda  enters  in  cape  and  bonnet  r.u.     Sees 
Alan  dancing.     He  stops  suddenly.) 

Alan.  I  was  just  seeing  if  you  could  dance  to 
it. 

Esmeralda.    And  you  found  you  could  ? 

Alan.     You  thought  it  was  a  hymn,  didn't  you? 

Esmeralda.     I  did,  didn't  I  ? 

Alan.     Well,  perhaps  it  is.    Are  you  going? 

^Esmeralda.  Yes,  I  don't  want  to  be  here  when 
they  come. 

Alan.  Wait  a  moment,  please — I  want  to  hear 
you  sing  it. 

Esmeralda.     My  wicked  song? 

Alan.     Yes — William  told  me.     Sing  it. 

Esmeralda.     Oh,  I  couldn't. 

William.     Of  course  you  can. 

(Esmeralda  hesitates  a  moment.  Sings,  ''A  Won- 
derful Thing."  She  stands  R.  of  Alan,  who 
sits  on  arm  of  chair  R.  of  table.) 


Until  to-day  this  world,  to  me 

Seemed  far  from  what  a  world  should  be — 


12  THE  CHOIR  REHEARSAL 

Sometimes  I  heard  its  laughter  gay 
But,  oh,  it  seemed  so  far  away  .  .  . 
Until  to-day  I  walked  alone — 
There  was  no  hand  to  take  my  own 
Until  to-day  I  dreamed  my  dreams — 
Now  they  have  all  come  true,  it  seems. 

Refrain 

A  wonderful  thing  has  come  into  my  life, 
A  beautiful,  wonderful  thing. 
My  heart  is  a  garden  that  wakens  to  find 
It  is  Spring,  and  a  thousand  birds  sing, 
The  wonder  to  m.e  is  that  no  one  can  see, 
That  the  world  doesn't  pause  to  look  in 
When  a  wonderful  thing  has  come  into  my  life 
It's  worth  all  the  livinsf  to  win. 


If  I  had  known  the  path  to  you 
I  would  have  flov/n  on  wings,  it's  true. 
I  would  have  sung  along  ipy  way 
Nor  been  so  weary  every  day — 
Out  of  the  shadow  shines  the  sun, 
After  the  rain  the  flowers  come 
And  to  the  heart  that  waits  alone, 
Comes  everything  a  heart  can  own. 

Alan.  (Who  has  listened  intently,  rises,  goes  to 
her)  Why,  it's  beautiful  and  so  far  I  see  nothing 
that  is  not  in  accord  with  the  Scriptures.  The  Won- 
derful Thing! — Why,  we  all  know  what  that  is.  It 
is — Religion.  The  happiness  is  the  joy  of  a  contrite 
heart — and  the  hand  referred  to — (He  is  about  to 
put  his  hand  on  hers,  but  does  not) — is  the  hand  of 
the  Lord,  of  course.  Now,  the  third  and  fourth 
verses 


THE  CHOIR  REHEARSAL  13 

Esmeralda.  But  there  aren't  any  more — and 
hymns  always  have  nine  or  ten — don't  they? 

Alan.  Oh,  well,  perhaps  they  were  left  out  for 
some  very  good  reason — after  all,  it's  very  satisfy- 
ing as  it  is. 

William.  I  think  it's  a  good  hymn.  It's  got 
more  sense  than  a  lot  of  them. 

Alan.  Quite  right,  William.  I  want  it  sung 
and  I  want  you  to  sing  it — I  shall  take  it  up  with 
the  Elders. 

Esmeralda.     When  ? 

Alan.     Now. 

Esmeralda.  Oh,  please  don't — I  don't  want  you 
to  go  away,  too. 

Alan.     Don't  you?    (Bell.) 

Esmeralda.     No. 

William.     There  they  be. 

(Enter  Abigail,  Amos  and  Enoch.^ 

Abigail.  Good  evenin',  Esmeraldy — well,  here's 
Parson  Wylie. 

Amos.     How  be,  Esmeraldy — evenin',  Parson. 

Abigail.     Was  you  goin'  out? 

Amos.  Why,  you've  got  to  stay  and  sing  first 
sopranny,  Esmeraldy — Tabitha  Hole's  got  a  cold 
and  two  yards  of  red  flannel  wrapped  round  her 
throat. 

Abigail.  (Sniffing)  Oh  well,  if  she's  walkin' 
out  with  the  minister 

Esmeralda.  I'm  not — I  never  thought  of  such 
a  thing.  I — I've  just  come  in — and  he's  just  going. 
Aren't  you?     (To  Alan.j 

Alan.  (Disappointed)  Yes — ^yes — I  must  be- 
gin my  Sunday's  sermon  to-night. 

William.     It's  goin'  to  be  a  long  one. 

Alan.     (To  Esmeralda^    Good  night 


14  THE  CHOIR  REHEARSAL 

Esmeralda.  (Following  him  to  door  l.)  Good 
night. 

Abigail.  She's  startin'  on  him  just  the  way  she 
did  on  Parson  Hallowell. 

William.     Come  on — I  got  to  be  home  by  ten. 

Amos.  Here,  Abby — you  set  down  here. 
(Standing  behind  chair  r.  of  table)  Well,  what's  to 
sing  at  prayer  meeting  ?    (Taking  chair.) 

Abigail.  I  thought  as  sister  Mordecai's  boy  has 
turned  from  grace  and  gone  to  the  haunts  of  sin, 
it  would  be  very  comforting  to  her  if  we  was  to 
sing  "Where  Is  My  Wandering  Boy  To-night." 

Enoch.  A  lovely  thought,  Abby.  They  do  say 
as  how  he  took  ten  dollars  out  of  his  father's  cash 
drawer,  and  went  to  New  York.  You  know  the 
temptations  for  a  boy  in  New  York  City — with 
money. 

Esmeralda.  (Comes  back,  overhears)  New 
York  City — how  do  you  go  there? 

Amos.  Well,  you  take  the  stagecoach  to  Duxbury 
to  start  with (They  look  at  one  another.) 

Abigail.     You  thinkin'  of  goin'? 

Esmeralda.     It  would  be  too  wonderful. 

Enoch.     Too  wonderful  to  go  to  perdition? 

Abigail.  Come,  Enoch — give  us  the  note.  (Ris- 
ing. They  gather  about  the  organ.  Enoch  trys  to 
get  note  with  pitch  pipe.) 

Amos.  Stop  it,  stop  it — you  start  it  for  us,  Es- 
meraldy. 

("Where  Is  My  Wand'ring  Boy."     They  sing  the 
hymn  through.     After  hymn.) 

William.     Now,  shall  we  gather  at  the  river? 

Esmeralda.     I  hope  not ("Abigail  returns 

to  chair  r.  of  table.  Esmeralda  sits  l.  of  table. 
Enoch  brings  chair  down  and  sits  l.  of  Esmeralda,  j 

Amos.  It  sounds  good  to  hear  ye  again,  Esmer- 
aldy.    (To  the  rest)    Don't  it? 


THE  CHOIR  REHEARSAL  15 

Abigail.  Yes.  If  Esmeraldy'd  only  had  her 
mind  on  serious  things,  she'd  be  singing  now  in  the 
choir.  But  she  had  her  mind  on  Hiram  Hallo- 
well. 

Esmeralda.    Well,  he  was  very  serious. 

Amos.  Sister  Tabitha  Hole  says  you  was  led 
astray  by  gewgaws  and  flummeries,  Esmeraldy 

Esmeralda.     What  do  you  mean? 

Abigail.  Why,  there  wa'n't  a  time  the  peddler 
came  from  Duxbury  that  he  didn't  stop  here  and 
sell  to  you,  Esmeraldy. 

Esmeralda.     Well,  what  of  that? 

Amos.  And  she  said  you  powdered  your  face — 
I  don't  know. 

Esmeralda.  What's  wrong  in  that?  Do  you 
think  it  makes  you  good  to  have  a  shiny  nose  ?  Yes, 
I  did  buy  powder — and  soap. 

Abigail.     Scented  soap. 

Amos.  Well,  if  the  Lord  had  intended  us  to  be 
scented,  he'd  a  made  us  so 

Esmeralda.  Well,  at  least  the  Lord  invented 
soap. 

Abigail.  Why,  Esmeraldy!  She's  blasphemin', 
Amos! 

Amos.     Oh,  let  her You  don't  know  what 

blasphemin'  is.  It's  like  old  times  to  hear  her  sing 
again,  ain't  it,  Enoch  ? 

Enoch.  'Tis  so,  an'  I  was  just  thinkin*  maybe 
Tabitha's  voice  won't  get  better — we  can  only  hope 
for  the  best.  If  it  don't,  and  Esmeraldy  was  to 
ask  Elder  Dogberry  for  forgiveness 

Abigail.  She'd  have  to  ask  higher  than  Elder 
Dogberry  for  forgiveness. 

Esmeralda.     But  I  don't  want  to  be  forgiven. 

Abigail.  (Shocked,  turning  to  AmosJ  Why, 
Amos,  she's  unregenerate. 

Enoch.  Why  don't  you  want  to  be  forgiven, — 
dear? 


i6  THE  CHOIR  REHEARSAL 

Esmeralda.  Because  I  loved  the  song.  I 
thought  it  sounded'just  beautiful  that  Sunday  morn- 
ing— and   so   did   the   Reverend    Hiram    Hallowell. 

Abigail.  Don't  bring  him  in.  He  vi^a'n't  to 
blame.  'Twa'n't  him  you  cared  for.  "fwas  the  gay 
life  of  Duxbury — the  goin's  on  and  doin's! 

Esmeralda.  Yes,  that's  true.  I  did  long  for  the 
life  and  music.  I  did  long  for  the  lights  of  Dux- 
bury. 

Enoch.  Did,  eh  ?  And  did  you  love  Hiram  Hal- 
lowell, Esmeraldy? 

Esmeralda.  No,  I  didn't.  But  I'd  have  gone 
away  with  him  if  he'd  asked  me. 

Abigail.    Gone  with  him — and  not  lovin'  him? 

Amos.  (Solemnly)  Marriage  without  love  is  a 
cracklin'  thorn  an'  a  pitfall  in  the  wilderness,  Es- 
meraldy. 

Abigail.  Do  you  mean  to  say  you'd  go  to  Dux- 
bury  with  anybody  that  asked  you  to  ? 

Esmeralda.     Yes,  I  do. 

Enoch.  (Leaning  toward  her  eagerly)  I've  an 
uncle  there  in  the  shoe  business — he's  just  crazy  to 
have  me  to  go  in  with  him. 

Abigail.  It's  bad  enough  to  marry  a  man  lovin' 
him — but  not  lovin'  him,  it's  a  deadly  sin,  ain't  it, 
Amos? 

Amos.  I  don't  know,  Abby,  it's  hard  on  the  man 
either  way.    What  say,  Enoch? 

Enoch.  All  I  can  say  is  'tis  if  'tis,  and  'tain't 
if  'tain't. 

Abigail.  Men  ain't  natural  Christians,  that's  the 
trouble — and  there's  too  many  of  'em  in  this  town. 

(Alan  enters  unobserved  i..) 

Amos.  What?  I  ain't  a  Christian?  Why,  I  come 
from  a  whole  line  of  ministers. 


THE  CHOIR  REHEARSAL  17 

William.  Well,  the  minister  always  boards  at 
our  house  and  I  guess  if  we  weren't  Christians  we 
couldn't  stand  it. 

Enoch.  Well,  if  I  ain't  a  Christian,  there  ain't 
a  Christian  in  this  town ! 

Esmeralda.  (Rising  and  appealing  to  the  por- 
trait) Oh,  great  grandfather,  why  did  you  ever  set- 
tle Tuckertown  ? 

Alan.  One  moment,  please.  What  has  all  this 
to  do  with  the  hymns  to  be  sung  at  prayer  rpeeting? 

Abigail.  If  you  want  to  know  the  truth.  Par- 
son, this  daughter  has  worldly  thoughts.  She  said 
she'd  go  to  Duxbury  with  anybody 

Amos.  You  want  to  watch  her  mighty  careful, 
Parson. 

Alan.  I  intend  to.  (To  William  J  Now,  Wil- 
liam, that  hymn  you  played  for  me,  I  want  it  sung. 
I  want  peace  here — and  love ! 

Abigail.     Love!    Tut!    Tut! 

Alan.  Heaven  is  what  we're  striving  for — and 
this  is  the  song  of  one  who  has  found  it. 

Abigail.  Praise  the  Lord — if  I  ain't  familiar 
with  it  I  can  read.  ('William  begins  to  play.  They 
gather  about  the  organ,  all  but  Alan  and  Esmer- 
alda, who  are  down  c.)     Can  you  see,  Amos? 

Amos.     Oh,  I  can  foller  anything. 

(They  begin  to  sing,  harmonizing,  "A  Wonderful 
Thing/'  ''Until  to-day  this  world  to  me,"  etc. 
During  the  humming  of  the  song  Alan  speaks) 

Alan.  Would  you  really  go  to  Duxbury  with — 
anybody  ? 

Esmeralda.  Yes — but  I'd  stay  here  if  anybody 
wanted  me  to. 

Abigail.  (Shocked,  as  she  recognizes  the  music) 
Why,  land  sakes — it's  the  very  song. 

Amos.     So  'tis — I  sensed  it  from  the  beginning. 


i8  THE    CHOIR    REHEARSAL 

Alan.  (Turning  to  them)  Well,  why  don't  you 
go  on? 

Abigail.  Do  you  mean  to  say,  Parson,  that  *tis 
really  a  hymn  ? 

Alan.     Yes,  I  mean  to  say  it. 

Amos.  I  don't  see  why  'tain*t.  It's  got  a  good 
bass. 

Alan.  I  want  it  sung  on  Sunday  morning — 
and  I  want  Sister  Esmeralda  to  sing  it. 

Amos.  Well,  you'll  have  to  speak  to  the  Elders 
about  that,  Parson. 

Alan.     I  have. 

Amos.     Oh,  well,  then,  that  settles  it. 

(They  all  bend   over  the  music,  rehearsing   care- 
fully,) 

Esmeralda.  (Coming  down  with  Alan  J  It  was 
splendid  of  you — splendid.     (Sadly.) 

Alan.     Then  why  are  you  so  sad? 

Esmeralda.  (Looking  at  him)  Is  the  wonder- 
ful thing  just  being  good?  Is  that  all  there  is  for 
us? 

Alan.  We'll  find  out  about  that  in  the  next 
world. 

Esmeralda.  But  we're  not  in  the  next  world — 
we're  here  and  it's  now — to-night — and  that's  all  we 
know  anything  about. 

Alan.  (Looking  at  her)  I  don't  feel  as  if  I 
know  anything  about  that 

Esmeralda.  I'm  going  to  tell  you  something.  I 
didn't  think  that  song  was  a  hymn — I  didn't  think 
the  wonderful  thing  was  religion — I  thought  it  was 
— love. 

Alan.  It  is.  There's  no  difference — don't  you 
see? 

Esmeralda.    (Understanding,  sings  happily,  join- 


THE    CHOIR    REHEARSAL  19 

ing  in  leith  the  rest)    "A  wonderful  thing  has  come 
into  my  life."  etc. 

Choir.     (After  refrain)     Amen. 

Esmeralda.     (Above  them)     Ah — men! 

CURTAIN 


The  Return  of  Hi  Jinks 

A  comedy  in  four  acts,  by  Marion  Short,  author  of  "The  Varsity 
Coach,"  "The  Touch-Down,"  etc.  6  males,  8  females.  Costumea 
modern.     One  interior  scene. 

This  comedy  is  founded  upon  and  elaborated  from  a  farce  comedy 
in  two  acts  written  by  J.  H.  Horta,  and  originally  produced  at  Tuft's 
College. 

Hiram  Poynter  Jinks,  a  Junior  in  Hoosic  College  (Willie  Collier 
type),  and  a  young  moving  picture  actress  (Mary  Pickford  type),  are 
the  leading  characters  in  this  lively,  modern  farce. 

Thomas  Hodge,  a  Senior,  envious  of  the  popularity  of  Jinks,  wishes 
to  think  up  a  scheme  to  throw  ridicule  upon  him  during  a  visit  of 
the  Hoosic  Glee  Club  to  Jinks's  home  town.  Jinks  has  obligingly  acted 
as  a  one-day  substitute  in  a  moving  picture  play,  in  which  there  is  a 
fire  scene,  and  this  gives  Hodge  his  cue.  He  sends  what  seems  to 
be  a  bona  fide  account  of  Jink's  heroism  at  a  Hoosic  fire  to  Jink's 
home  paper.  Instead  of  repudiating  his  laurels  as  expected,  Jinks 
decides  to  take  a  flyer  in  fame,  confirms  the  fake  story,  confesses  to 
being  a  hero  and  is  adoredi  by  all  the  girls,  to  the  chagrin  and  dis- 
comfiture of  Hodge.  Of  course,  the  truth  comes  out  at  last,  but 
Jinks  is  not  hurt  thereby,  and  his  romance  with  Mimi  Mayflower 
comes  to  a  successful  termination. 

This  is  a  great  comedy  for  amateurs.  It  is  full  ef  funny  situations 
and  is  sure  to  please.  Price,  30  Cents. 


J 


une 

A  most  successful  comedy-drama  in  four  acts,  by  Marie  Doran, 
author  of  "The  New  Co-Ed,"  "Tempest  and  Sunshine,"  "Dorothy's 
Neighbors,"  etc.  4  males,  8  females.  One  interior  scene.  Costumes 
modern.     Plays  2}4  hours. 

This  play  has  a  very  interesting  group  of  young  people.  June  is 
an  appealing  little  figure,  an  orphan   living  with  her  aunt.     There  are 

,a  number  of  delightful,  life-like  characters:  the  sorely  tried  likeable 
Mrs.  Hopkins,  the  amusing,  haughty  Miss  Banks  of  the  glove  depart- 
ment, the  lively  Tilly  and  Milly,  who  work  in  the  store,  and  ambitious 

>Snoozer;  Mrs.  Hopkins's  only  son,  who  aspires  to  be  President  of  the 
United  States,  but  finds  his  real  sphere  is  running  the  local  trolley 
car.     The  play  is  simplicity  itself  in  the  telling  of  an  every-day  story, 

!aad  the  scenic  requirements  call  for  only  one  set,  a  room  in  the 
boarding  house  of  Mrs.  Hopkins,  while  an  opportunity  is  afforded  to 
introduce  any  number  of  extra  characters.  Musical  numbers  may  be 
introduced,  if  desired.  Price,  30  Cents. 

Tempest  and  Sunshine 

A  comedy  drama  in  four  acts,  by  Marie  Doran.  5  males  and  3 
females.     One  exterior  and  three  interior  scenes.    Plays  about  2  hours* 

Every  school  girl  has  revelled  in  the  sweet  simplicity  and  gentle- 
Ti'iis  of  the  characters  interwoven  in  the  charms  that  Mary  J.  Holmes 
co.Tiraands  in  her  story  of  "Tempest  and  Sunshine."  We  can  strongly 
recommend  this  play  as  one  of  the  best  plays  for  high  school  pro- 
duction published  in  recent  years.  Price,  30  Cents. 

)  (The  Above  Are  Subject  to  Royalty  When  Produced) 


SAMUEL  FRENCH,  28-30  West  38th  Street.  New  York  City 

Nsw  and  Explicit  Descriptive  Catalogue   Mailed  Free    on  Request 


The  Touch-Down    . 

A  comedy  in  four  acts,  by  Marion  Short.  8  males,  6  females,  but 
any  number  of  characters  can  be  introduced  in  the  ensembles.  Cos- 
tumes modern.  One  interior  scene  throughout  the  play.  Time,  234 
hours. 

This  play,  written  for  the  use  of  clever  amateurs,  is  the  story  of 
life  in  Siddell,  a  Pennsylvania  co-educational  college.  It  deals  with 
the  vicissitudes  and  final  triumph  of  the  Siddell  Football  Eleven,  and 
the  humorous  and  dramatic  incidents  connected  therewith. 

"The  Touch-Down"  has  the  true  varsity  atmosphere,  college  songs 
arc  sung,  and  the  piece  is  lively  and  entertaining  throughout.  High 
schools  will  make  no  mistake  in  producing  this  play.  We  strongly 
recommend  it  as  a  high-class  and  well-written  comedy. 

Price,  30  Cents. 

Hurry^  Hurry^  Hurry 

A  comedy  in  three  acts,  by  LcRoy  Arnold.  5  males,  4  females. 
One  interior  scene.     Costumes  modern.     Plays  2J4   hours. 

The  story  is  based  on  the  will  of  an  eccentric  aunt.  It  stipulates 
that  her  pretty  niece  must  be  affianced  before  she  is  twenty-one.  and 
married  to  her  fiance  within  a  year,  if  she  is  to  get  her  spinster 
relative's  million.  Father  has  nice  notions  of  honor  and  fails  to  tell 
daughter  about  the  will,  so  that  she  may  make  her  choice  untram- 
meled  by  any  other  consideration  than  that  of  true  love.  The  action 
all  takes  place  in  the  evening  the  midnight  of  which  will  see  her 
reach  twenty-one.  Time  is  therefore  short,  and  it  is  hurry,  hurry, 
hurry,  if  she  is  to  become  engaged  and  thus  save  her  father  from 
impending  bankruptcy. 

The  situations  are  intrinsically  funny  and  the  dialogue  is  sprightly. 
The  characters  are  natural  and  unaffected  and  the  action  moves  with 
a  snap  such  as  should  be  expected  from  its  title.  Price,  30  Cents. 

The  Varsity  Coach 

A  three-act  play  of  college  life,  by  Marion  Short,  specially  adapted 
to  performance  by  amateurs  or  high  school  students.  5  males  6 
females,  but  any  number  of  beys  and  girls  may  be  introduced  in  the 
action  of  the  play.  Two  settings  necessary,  a  college  boy's  room  and 
the  university  campus.     Time,  about  2  hours. 

Like  many  another  college  boy,. "Bob"  Selby,  an  all-round  popular 
college  man.  becomes  possessed  of  the  idea  that  athletic  prowess  is 
more  to  be  desired  than  scholarship.  He  is  surprised  in  the  midst  of 
a  "spread"  in  his  room  in  Regatta  week  by  a  visit  from  his  aunt 
who  is  putting  him  through  college.  Aunt  Serena,  "a  lady  of  the  old 
school  and  the  dearest  little  woman  in  the  whole  world,"  has  hastened 
to  make  this  visit  to  her  adored  nephew  under  the  mistaken  impression 
that  he  is  about  to  receive  the  Fellowes  prize  for  scholarship.  Her 
grief  and  chagrin  when  she  learns  that  instead  of  the  prize  Robert 
has  received  "a  pink  card,"  which  is  equivalent  to  suspension  for  poor 
scholarship,  gives  a  touch  of  pathos  to  an  otherwise  jolly  comedy  of 
college  life.  How  the  repentant  Robert  more  than  redeems  himself, 
carries  off  honors  at  the  last,  and  in  the  end  wins  Ruth,  the  faithful 
little  sweetheart  of  the  "Prom"  and  the  classroom,  makes  a  story  of 
dramatic  interest  and  brings  out  very  clearly  certain  phases  of  modern 
college  life.  There  are  several  opportunities  for  the  introduction  of 
college  songs  and  "stunts."  Price,  30  Cents.  , 

(The  Above  Are  Subject  to  Royalty  When  Produced) 
SAMUEL  FRENCH,  28-30  West  38th  Street,  New  York  City        1 

Ntw   aod  Explicit   Discriptive  Gataiogus  Mailed   Free  on  Request    \ 


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